Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2581
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
}

[
  "listeModal" => true
  "categorieProduitEnum" => [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
]

App\Twig\Components\ListePanier {#2658
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2661 …}
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entityManager: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -gestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
  -formView: Symfony\Component\Form\FormView {#2697 …}
  -form: Symfony\Component\Form\Form {#2847 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1820
    -id: 2537
    -nom: "Straight Shooter"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Second studio album, featuring "Good Lovin' Gone Bad" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      "Wonderful, beautifuly listening from start to finish here. ... Guitar driven, blues rock". - Michael Ludwigs, 45 RPM Audiophile, YouTube video\r\n
      \r\n
      Recorded straight on the heels of Bad Company's 1974 debut just a matter of three months later; not quite long enough to know how big a success the first LP would be Straight Shooter is seemingly cut from the same cloth as its predecessor. It is, after all, a tight collection of eight strong, steady, heavy rockers that never, ever proceed in a hurry, but from the moment "Good Lovin' Gone Bad" kicks off the proceedings, it's clear that Bad Company have decided to expand their palette this second time around, writes AllMusic.\r\n
      \r\n
      The album, released in April 1975, reached N° 3 on both the U.K. Albums Chart and the U.S. Billboard 200. It was certified gold (500000 units sold) by the Recording Industry Association of America (RIAA) a month after its release.\r\n
      \r\n
      The jacket for the album was designed by Hipgnosis, who also designed their debut album.\r\n
      \r\n
      "Good Lovin' Gone Bad", was released in March 1975 and reached N° 36 on the Billboard Hot 100. The album was released in April. The album's final single "Feel like Makin' Love" was released in August and reached N° 10 on the Hot 100.\r\n
      \r\n
      "Feel Like Makin' Love" and "Shooting Star", became classic rock staples due to this expanded aural vocabulary, and even straight-ahead rockers like "Good Lovin' Gone Bad" and "Deal with the Preacher" benefit from this additional muscle, while they feel comfortable enough to settle into a soulful groove on "Anna" and "Call on Me".\r\n
      \r\n
      Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing, this is the definitive pressing of Straight Shooter and one fans of Bad Company will be proud to own.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Paul Rodgers (guitar, piano, vocals), Mick Ralphs (guitar, keyboards), Boz Burrell (bass), Simon Kirke (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=FJTSmLqg6iE"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) AAPA 037-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Good Lovin' Gone Bad"
      ]
      [
        "ordre" => 2
        "nom" => "2. Feel Like Makin' Love"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Weep No More"
      ]
      [
        "ordre" => 5
        "nom" => "2. Shooting Star"
      ]
      [
        "ordre" => 6
        "nom" => "Side C : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Deal With The Preacher"
      ]
      [
        "ordre" => 8
        "nom" => "2. Wild Fire Woman"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Anna"
      ]
      [
        "ordre" => 11
        "nom" => "2. Call On Me"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1720942703 {#1875
      date: 2024-07-14 07:38:23.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767218251 {#1868
      date: 2025-12-31 21:57:31.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-straight-shooter-analogue-productions-atlantic-75-series-aapa-037-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3122
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#1820
    -id: 2537
    -nom: "Straight Shooter"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Second studio album, featuring "Good Lovin' Gone Bad" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      "Wonderful, beautifuly listening from start to finish here. ... Guitar driven, blues rock". - Michael Ludwigs, 45 RPM Audiophile, YouTube video\r\n
      \r\n
      Recorded straight on the heels of Bad Company's 1974 debut just a matter of three months later; not quite long enough to know how big a success the first LP would be Straight Shooter is seemingly cut from the same cloth as its predecessor. It is, after all, a tight collection of eight strong, steady, heavy rockers that never, ever proceed in a hurry, but from the moment "Good Lovin' Gone Bad" kicks off the proceedings, it's clear that Bad Company have decided to expand their palette this second time around, writes AllMusic.\r\n
      \r\n
      The album, released in April 1975, reached N° 3 on both the U.K. Albums Chart and the U.S. Billboard 200. It was certified gold (500000 units sold) by the Recording Industry Association of America (RIAA) a month after its release.\r\n
      \r\n
      The jacket for the album was designed by Hipgnosis, who also designed their debut album.\r\n
      \r\n
      "Good Lovin' Gone Bad", was released in March 1975 and reached N° 36 on the Billboard Hot 100. The album was released in April. The album's final single "Feel like Makin' Love" was released in August and reached N° 10 on the Hot 100.\r\n
      \r\n
      "Feel Like Makin' Love" and "Shooting Star", became classic rock staples due to this expanded aural vocabulary, and even straight-ahead rockers like "Good Lovin' Gone Bad" and "Deal with the Preacher" benefit from this additional muscle, while they feel comfortable enough to settle into a soulful groove on "Anna" and "Call on Me".\r\n
      \r\n
      Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing, this is the definitive pressing of Straight Shooter and one fans of Bad Company will be proud to own.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Paul Rodgers (guitar, piano, vocals), Mick Ralphs (guitar, keyboards), Boz Burrell (bass), Simon Kirke (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=FJTSmLqg6iE"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) AAPA 037-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Good Lovin' Gone Bad"
      ]
      [
        "ordre" => 2
        "nom" => "2. Feel Like Makin' Love"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Weep No More"
      ]
      [
        "ordre" => 5
        "nom" => "2. Shooting Star"
      ]
      [
        "ordre" => 6
        "nom" => "Side C : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Deal With The Preacher"
      ]
      [
        "ordre" => 8
        "nom" => "2. Wild Fire Woman"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Anna"
      ]
      [
        "ordre" => 11
        "nom" => "2. Call On Me"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1720942703 {#1875
      date: 2024-07-14 07:38:23.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767218251 {#1868
      date: 2025-12-31 21:57:31.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-straight-shooter-analogue-productions-atlantic-75-series-aapa-037-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
}

[
  "produit" => App\Entity\Produit {#2044
    -id: 2645
    -nom: "Good As I Been To You - (Edition SuperVinyl)"
    -informationComplementaire: null
    -description: """
      - Dylan's 1992 solo acoustic album remains an overlooked gem !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at RTI on Supervinyl compound !\r\n
      - Housed in a Stoughton Printing jacket !\r\n
      \r\n
      Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s 180 gram SuperVinyl 33 RPM LP Plays with Riveting Detail, Strictly Limited to 5000 Numbered Copies\r\n
      \r\n
      Three decades before he released The Philosophy of Modern Song an insightful book devoted to 66 tunes that both impacted his career and the music world at large Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan's first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate's celebrated late-career arc. It's also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.\r\n
      \r\n
      Good As I Been to You ? Dylan has seldom been better.\r\n
      \r\n
      Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180 gram SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan's garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl's extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.\r\n
      \r\n
      Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan's home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works in this case, traditional folk music and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).\r\n
      \r\n
      Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy followed him for years. As author Clinton Heylin reported Dylan admitting in 1997 : "My influences have not changed and any time they have done, the music goes off to a wrong place. That's why I recorded two LPs of old songs, so I could personally get back to the music that's true for me".\r\n
      \r\n
      Truth : Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan's imagination as a kid in small-town Minnesota and, later, per Greil Marcus' That Old Weird America book, informed Dylan and the Band's Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record's release, Dylan would play half the album's songs live.\r\n
      \r\n
      As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes jealousy, temptation, sacrifice, love, revenge, identity, opportunity operate on a fundamentally human level immune to trends, generations, or eras. They're ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice "Frankie & Albert"; "Jim Jones", romance and tenderness "Tomorrow Night," "Froggie Went a Courtin'", the troubled and trouble-free "Hard Times", "Sittin' on Top of the World". They lend voice to lovers scorned and freed "Blackjack Davey", the used and users "Diamond Joe", the powerful and powerless "Arthur McBride", "Canadee-I-O", the followed and followers "Little Maggie". And akin to much of Dylan's finest output, things are not always what they appear to be.\r\n
      \r\n
      Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan's position as an elite interpreter and sculptor not of just structure but emotion. Dylan delivers the tunes as if he's known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanor; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.\r\n
      \r\n
      Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing from the clever ways he stretches syllables to underline meanings on the surprise twists of "Canadee-I-O" to the sheer delight he gets from singing "rowdy-dow-dow" on the protest song "Arthur McBride" outstanding.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Bob Dylan (guitar, harmonica, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=7WM4lnTRi8o"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV1-532"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Frankie & Albert"
      ]
      [
        "ordre" => 2
        "nom" => "2. Jim Jones"
      ]
      [
        "ordre" => 3
        "nom" => "3. Blackjack Davey"
      ]
      [
        "ordre" => 4
        "nom" => "4. Canadee-I-O"
      ]
      [
        "ordre" => 5
        "nom" => "5. Sittin' on Top of the World"
      ]
      [
        "ordre" => 6
        "nom" => "6. Little Maggie"
      ]
      [
        "ordre" => 7
        "nom" => "7. Hard Times"
      ]
      [
        "ordre" => 8
        "nom" => "Side B : "
      ]
      [
        "ordre" => 9
        "nom" => "1. Step It up and Go"
      ]
      [
        "ordre" => 10
        "nom" => "2. Tomorrow Night"
      ]
      [
        "ordre" => 11
        "nom" => "3. Arthur McBride (Remastered)"
      ]
      [
        "ordre" => 12
        "nom" => "4. You're Gonna Quit Me"
      ]
      [
        "ordre" => 13
        "nom" => "5. Diamond Joe"
      ]
      [
        "ordre" => 14
        "nom" => "6. Froggie Went a Courtin'"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2046 …}
    -label: Proxies\__CG__\App\Entity\Label {#2049 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2058 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2051 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2053 …}
    -enregistreLe: DateTime @1740174545 {#2041
      date: 2025-02-21 21:49:05.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215892 {#2042
      date: 2025-12-31 21:18:12.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2055 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-good-as-i-been-to-you-edition-supervinyl-mobile-fidelity-sound-lab-mfsv1-532"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3236
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2044
    -id: 2645
    -nom: "Good As I Been To You - (Edition SuperVinyl)"
    -informationComplementaire: null
    -description: """
      - Dylan's 1992 solo acoustic album remains an overlooked gem !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at RTI on Supervinyl compound !\r\n
      - Housed in a Stoughton Printing jacket !\r\n
      \r\n
      Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s 180 gram SuperVinyl 33 RPM LP Plays with Riveting Detail, Strictly Limited to 5000 Numbered Copies\r\n
      \r\n
      Three decades before he released The Philosophy of Modern Song an insightful book devoted to 66 tunes that both impacted his career and the music world at large Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan's first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate's celebrated late-career arc. It's also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.\r\n
      \r\n
      Good As I Been to You ? Dylan has seldom been better.\r\n
      \r\n
      Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180 gram SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan's garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl's extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.\r\n
      \r\n
      Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan's home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works in this case, traditional folk music and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).\r\n
      \r\n
      Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy followed him for years. As author Clinton Heylin reported Dylan admitting in 1997 : "My influences have not changed and any time they have done, the music goes off to a wrong place. That's why I recorded two LPs of old songs, so I could personally get back to the music that's true for me".\r\n
      \r\n
      Truth : Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan's imagination as a kid in small-town Minnesota and, later, per Greil Marcus' That Old Weird America book, informed Dylan and the Band's Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record's release, Dylan would play half the album's songs live.\r\n
      \r\n
      As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes jealousy, temptation, sacrifice, love, revenge, identity, opportunity operate on a fundamentally human level immune to trends, generations, or eras. They're ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice "Frankie & Albert"; "Jim Jones", romance and tenderness "Tomorrow Night," "Froggie Went a Courtin'", the troubled and trouble-free "Hard Times", "Sittin' on Top of the World". They lend voice to lovers scorned and freed "Blackjack Davey", the used and users "Diamond Joe", the powerful and powerless "Arthur McBride", "Canadee-I-O", the followed and followers "Little Maggie". And akin to much of Dylan's finest output, things are not always what they appear to be.\r\n
      \r\n
      Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan's position as an elite interpreter and sculptor not of just structure but emotion. Dylan delivers the tunes as if he's known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanor; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.\r\n
      \r\n
      Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing from the clever ways he stretches syllables to underline meanings on the surprise twists of "Canadee-I-O" to the sheer delight he gets from singing "rowdy-dow-dow" on the protest song "Arthur McBride" outstanding.
      """
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[
  "produit" => App\Entity\Produit {#2063
    -id: 893
    -nom: "A Tribute To Jack Johnson"
    -informationComplementaire: null
    -description: """
      - The “Greatest Rock and Roll Band You Have Ever Heard”, Miles Davis, John McLaughlin, and Co. Merge Electric Fusion and Defiant Rock on the Funky, Freeing A Tribute to Jack Johnson.\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Plays with Lean, Stripped-Back Sound and Startling Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. \r\n
      \r\n
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      \r\n
      Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimensional bass lines emerge amidst an ink-black background.\r\n
      \r\n
      The least-well known true masterpiece of Davis' career, the 1971 record – like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson a stance revealed in the music, which simultaneously hits with a prize fighter's brutal force and reflects the graceful elegance with which a pugilist navigates the ring.\r\n
      \r\n
      Producer and journalist Michael Cuscuna may have summed up the record's significance in 2003 : "The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly".\r\n
      \r\n
      By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it.
      """
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    -nom: "A Tribute To Jack Johnson"
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    -description: """
      - The “Greatest Rock and Roll Band You Have Ever Heard”, Miles Davis, John McLaughlin, and Co. Merge Electric Fusion and Defiant Rock on the Funky, Freeing A Tribute to Jack Johnson.\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Plays with Lean, Stripped-Back Sound and Startling Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
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      \r\n
      Sourced from the original analog master tapes and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180 gram 33 RPM (1 LP) reissue brings it all to fore. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires. \r\n
      \r\n
      Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimensional bass lines emerge amidst an ink-black background.\r\n
      \r\n
      The least-well known true masterpiece of Davis' career, the 1971 record – like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson a stance revealed in the music, which simultaneously hits with a prize fighter's brutal force and reflects the graceful elegance with which a pugilist navigates the ring.\r\n
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      \r\n
      By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it.
      """
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[
  "produit" => App\Entity\Produit {#2079
    -id: 2539
    -nom: "Desolation Angels"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
      - Includes the gold-selling single "Rock 'n' Roll Fantasy" !\r\n
      \r\n
      - 180 gram 45 RPM double LP !\r\n
      \r\n
      - Pressed at Quality Record Pressings !\r\n
      \r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      The members of Bad Company maintained a grueling pace over the first few years of their career, releasing four albums (and touring steadily) between 1974 and 1977. By the time they finished recording the fourth LP, Burnin' Sky, they were exhausted and clearly in need of a break.\r\n
      \r\n
      The band re-emerged on March 17, 1979 with their fifth LP, Desolation Angels, another solid 10 track slab of blues-influenced rock whose impressive chart performance proved that even among the rising tide of younger punk and New Wave acts, there was still a strong demand for Bad Company's signature sound, writes Ultimate Classic Rock.\r\n
      \r\n
      The vocal passion of "Rock 'n' Roll Fantasy" became the album's gold-selling single, and the album as a whole takes on a more polished feel than its predecessor Burnin' Sky. "Gone, Gone, Gone", "Lonely for Your Love", and "She Brings Me Love" work best in vocalist and rhythm guitarist Paul Rodgers' favor, and fans did prove their loyalty, pushing the album to the N° 10 mark in the U.K. and to N° 3 in the U.S.\r\n
      \r\n
      The album went platinum for sales of more than 1 million copies, and double platinum subsequently.\r\n
      \r\n
      This 180 gram 45 RPM 2 LP of Burnin' Sky is the definitive reissue of Bad Company's classic album.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Paul Rodgers (guitar, piano, synthesisers), Mick Ralphs (guitar, keyboards), Boz Burrell (bass), Simon Kirke (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=B7fvicH8ToM"
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    -id: 2539
    -nom: "Desolation Angels"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
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      The vocal passion of "Rock 'n' Roll Fantasy" became the album's gold-selling single, and the album as a whole takes on a more polished feel than its predecessor Burnin' Sky. "Gone, Gone, Gone", "Lonely for Your Love", and "She Brings Me Love" work best in vocalist and rhythm guitarist Paul Rodgers' favor, and fans did prove their loyalty, pushing the album to the N° 10 mark in the U.K. and to N° 3 in the U.S.\r\n
      \r\n
      The album went platinum for sales of more than 1 million copies, and double platinum subsequently.\r\n
      \r\n
      This 180 gram 45 RPM 2 LP of Burnin' Sky is the definitive reissue of Bad Company's classic album.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Paul Rodgers (guitar, piano, synthesisers), Mick Ralphs (guitar, keyboards), Boz Burrell (bass), Simon Kirke (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=B7fvicH8ToM"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) AAPA  058-45"
    -titreMorceau: [
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        "nom" => "3. Take The Time"
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        "nom" => "Side D : "
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        "nom" => "1. Rhythm Machine"
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        "nom" => "2. She Brings Me Love"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
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[
  "produit" => App\Entity\Produit {#2092
    -id: 2663
    -nom: "Absolute Originals - The CCR Box Set (8 LP)"
    -informationComplementaire: null
    -description: """
      - Creedence Clearwater Revival "Absolute Originals" !\r\n
      - Back in print on 180 gram 45 RPM !\r\n
      - Pressed at Quality Record Pressings QRP !\r\n
      - The choicest tracks from the seven-record CCR studio catalog !\r\n
      - Includes a bonus 45 RPM disc with selected wide stereo mixes !\r\n
      - Mastered by Kevin Gray and Steve Hoffman from the original analog tapes !\r\n
      \r\n
      One of the most successful reissue box sets in the history of Analogue Productions, the can't-miss CCR Absolute Originals 180 gram 45 RPM Box Set, an eight-disc classic, is back in print ! This set highlights the choicest tracks from each of these seven albums at 45 RPM. With so few songs on each side (some releases have only one song per side), your cartridge is going to track better and ultimately SING sweeter!\r\n
      \r\n
      With the biggest hits from each record (packaged in replicas of the original jackets), you'll get in-depth liners by rock critic extraordinare Ben Fong-Torres of Rolling Stone fame, and photos by Baron Wolman and Didi Zill, both of whom were there to document CCR "back in the day". There is also an essay by Steve Hoffman, who along with Kevin Gray, remastered these gems at AcousTech Mastering. We've also included a bonus record that includes rare wide stereo mixes of "Bad Moon Rising" and "Proud Mary", cut at 45 of course.\r\n
      \r\n
      These are, simply put, the best-sounding versions of these great songs that have appeared on vinyl. The hits are iconic : "Bad Moon Rising", "Proud Mary", "Down On The Corner", "Fortunate Son", "The Midnight Special", "I Heard It Through The Grapevine", "Run Through The Jungle", "Green River", "Have You Ever Seen The Rain" and more !\r\n
      \r\n
      Read what reviewers have said about the previous incarnation of this acclaimed box set !\r\n
      \r\n
      "...Now comes Absolute Originals...the sonic results are so damn wonderful ...everything is that much more immediate: dynamics are more explosive, textures more complex, there's tons of energy but everything is warm and sassy, and Fogerty's vocal is more present and lifelike. What more could a hardcore fan want ?" - Wayne Garcia, The Absolute Sound, August / September 2005, Issue 155\r\n
      \r\n
      "The quality is outstanding both in terms of sound, pressing quality and packaging and not to be missed under any circumstances. For those who have yet to hear them, Kassem has ... in a box set, (issued) many of the greatest hits by Creedence Clearwater Revival on 45 RPM... you just wouldn't believe what's in the grooves of these black gold records. Leave it to the collaborative efforts of Kassem/Gray/Hoffman to offer up something very special. A tip of the vinyl-loving hat gentleman". - Richard Foster, Hi-Fi+\r\n
      \r\n
      And how about this endorsement of our hard-working graphic design staff ?\r\n
      \r\n
      "I own a few test pressings from Chad's original run of individual LP reissues, and I can vouch for their superb sound and clean surfaces but what impressed me most was the high quality of the booklet that comes with the boxed version. Whoever was the art director of that project deserves a raise, and Chad deserves thanks for creating a package that exceeds our expectations rather than just tossing off some junky scan". - Art Dudley, Stereophile, August 2004
      """
    -prixVente: "499.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "John Fogerty (lead guitar, keyboards, harmonica, saxophone, vocals),  Tom Fogerty (rhythm guitar, vocals), Stu Cook (bass guitar, rhythm & lead guitar, keyboards, vocals), Doug Clifford (drums, percussion, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 8
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=18kqUNG9mO4"
    -referenceProduit: "Analogue Productions Fantasy AAPP CCR 7-45"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "CREEDENCE CLEARWATER REVIVAL"
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      [
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        "nom" => "1. Suzie Q.   "
      ]
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        "ordre" => 2
        "nom" => "2. I Put A Spell On You  "
      ]
      [
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        "nom" => "BAYOU COUNTRY"
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        "nom" => "1. Born On The Bayou   "
      ]
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        "nom" => "2. Bootleg   "
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        "nom" => "3. Good Golly Miss Molly   "
      ]
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      ]
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        "nom" => "5. Proud Mary  "
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        "nom" => "GREEN RIVER"
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        "nom" => "1. Green River   "
      ]
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        "nom" => "2. Commotion   "
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        "ordre" => 12
        "nom" => "3. Bad Moon Rising   "
      ]
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        "nom" => "4. Lodi  "
      ]
      [
        "ordre" => 14
        "nom" => "WILLY AND THE POORBOYS"
      ]
      [
        "ordre" => 15
        "nom" => "1. Down On The Corner   "
      ]
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        "ordre" => 16
        "nom" => "2. It Came Out Of The Sky   "
      ]
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        "ordre" => 17
        "nom" => "3. Cotton Fields   "
      ]
      [
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        "nom" => "4. Fortunate Son   "
      ]
      [
        "ordre" => 19
        "nom" => "5. Don't Look Now (It Ain't You or Me)  "
      ]
      [
        "ordre" => 20
        "nom" => " 6. The Midnight Special  "
      ]
      [
        "ordre" => 21
        "nom" => "COSMO'S FACTORY"
      ]
      [
        "ordre" => 22
        "nom" => "1. Lookin' Out My Back Door   "
      ]
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        "ordre" => 23
        "nom" => "2. Run Through the Jungle   "
      ]
      [
        "ordre" => 24
        "nom" => "3. I Heard It Through The Grapevine  "
      ]
      [
        "ordre" => 25
        "nom" => "PENDULUM"
      ]
      [
        "ordre" => 26
        "nom" => "1. Have You Ever Seen the Rain ?   "
      ]
      [
        "ordre" => 27
        "nom" => "2. Hey Tonight  "
      ]
      [
        "ordre" => 28
        "nom" => "MARDI GRAS"
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        "nom" => "1. Sweet Hitch-Hiker   "
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        "nom" => "2. Someday Never Comes   "
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        "nom" => "Bonus :"
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        "nom" => "3. Bad Moon Rising (Wide Stereo Mix)  "
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2094 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3386
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2092
    -id: 2663
    -nom: "Absolute Originals - The CCR Box Set (8 LP)"
    -informationComplementaire: null
    -description: """
      - Creedence Clearwater Revival "Absolute Originals" !\r\n
      - Back in print on 180 gram 45 RPM !\r\n
      - Pressed at Quality Record Pressings QRP !\r\n
      - The choicest tracks from the seven-record CCR studio catalog !\r\n
      - Includes a bonus 45 RPM disc with selected wide stereo mixes !\r\n
      - Mastered by Kevin Gray and Steve Hoffman from the original analog tapes !\r\n
      \r\n
      One of the most successful reissue box sets in the history of Analogue Productions, the can't-miss CCR Absolute Originals 180 gram 45 RPM Box Set, an eight-disc classic, is back in print ! This set highlights the choicest tracks from each of these seven albums at 45 RPM. With so few songs on each side (some releases have only one song per side), your cartridge is going to track better and ultimately SING sweeter!\r\n
      \r\n
      With the biggest hits from each record (packaged in replicas of the original jackets), you'll get in-depth liners by rock critic extraordinare Ben Fong-Torres of Rolling Stone fame, and photos by Baron Wolman and Didi Zill, both of whom were there to document CCR "back in the day". There is also an essay by Steve Hoffman, who along with Kevin Gray, remastered these gems at AcousTech Mastering. We've also included a bonus record that includes rare wide stereo mixes of "Bad Moon Rising" and "Proud Mary", cut at 45 of course.\r\n
      \r\n
      These are, simply put, the best-sounding versions of these great songs that have appeared on vinyl. The hits are iconic : "Bad Moon Rising", "Proud Mary", "Down On The Corner", "Fortunate Son", "The Midnight Special", "I Heard It Through The Grapevine", "Run Through The Jungle", "Green River", "Have You Ever Seen The Rain" and more !\r\n
      \r\n
      Read what reviewers have said about the previous incarnation of this acclaimed box set !\r\n
      \r\n
      "...Now comes Absolute Originals...the sonic results are so damn wonderful ...everything is that much more immediate: dynamics are more explosive, textures more complex, there's tons of energy but everything is warm and sassy, and Fogerty's vocal is more present and lifelike. What more could a hardcore fan want ?" - Wayne Garcia, The Absolute Sound, August / September 2005, Issue 155\r\n
      \r\n
      "The quality is outstanding both in terms of sound, pressing quality and packaging and not to be missed under any circumstances. For those who have yet to hear them, Kassem has ... in a box set, (issued) many of the greatest hits by Creedence Clearwater Revival on 45 RPM... you just wouldn't believe what's in the grooves of these black gold records. Leave it to the collaborative efforts of Kassem/Gray/Hoffman to offer up something very special. A tip of the vinyl-loving hat gentleman". - Richard Foster, Hi-Fi+\r\n
      \r\n
      And how about this endorsement of our hard-working graphic design staff ?\r\n
      \r\n
      "I own a few test pressings from Chad's original run of individual LP reissues, and I can vouch for their superb sound and clean surfaces but what impressed me most was the high quality of the booklet that comes with the boxed version. Whoever was the art director of that project deserves a raise, and Chad deserves thanks for creating a package that exceeds our expectations rather than just tossing off some junky scan". - Art Dudley, Stereophile, August 2004
      """
    -prixVente: "499.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "John Fogerty (lead guitar, keyboards, harmonica, saxophone, vocals),  Tom Fogerty (rhythm guitar, vocals), Stu Cook (bass guitar, rhythm & lead guitar, keyboards, vocals), Doug Clifford (drums, percussion, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 8
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    -extraitYoutube: "https://www.youtube.com/watch?v=18kqUNG9mO4"
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    -titreMorceau: [
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      ]
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        "ordre" => 12
        "nom" => "3. Bad Moon Rising   "
      ]
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        "ordre" => 13
        "nom" => "4. Lodi  "
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      ]
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        "nom" => "3. Cotton Fields   "
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        "nom" => "4. Fortunate Son   "
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      [
        "ordre" => 19
        "nom" => "5. Don't Look Now (It Ain't You or Me)  "
      ]
      [
        "ordre" => 20
        "nom" => " 6. The Midnight Special  "
      ]
      [
        "ordre" => 21
        "nom" => "COSMO'S FACTORY"
      ]
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        "nom" => "1. Lookin' Out My Back Door   "
      ]
      [
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        "nom" => "2. Run Through the Jungle   "
      ]
      [
        "ordre" => 24
        "nom" => "3. I Heard It Through The Grapevine  "
      ]
      [
        "ordre" => 25
        "nom" => "PENDULUM"
      ]
      [
        "ordre" => 26
        "nom" => "1. Have You Ever Seen the Rain ?   "
      ]
      [
        "ordre" => 27
        "nom" => "2. Hey Tonight  "
      ]
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        "nom" => "MARDI GRAS"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2094 …}
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[
  "produit" => App\Entity\Produit {#2115
    -id: 2618
    -nom: "Fragile"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Yes' breakthrough album !\r\n
      - Includes hit singles "Roundabout" and "Long Distance Runaround" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon. Not coincidentally, it also marked the point where all of the elements of the music (and more) that would define the group's success for more than a decade fell into place fully formed, writes AllMusic, giving Fragile a 5-Star rating.\r\n
      \r\n
      Propelled by the timeless hit "Roundabout," Yes' fourth album, Fragile, became an instant classic and is undoubtedly one of prog-rock's finest moments. It was the first Yes record to feature Rick Wakeman on keyboards and the first to display the inimitable artwork of Roger Dean. Here's the ultimate way to enjoy one of Yes's most popular and enjoyable albums.\r\n
      \r\n
      This Analogue Productions (Atlantic Series) reissue of Fragile is a standout for your collection. First, we turned to Kevin Gray at Cohearent Audio to cut lacquers from the original master tape. Pressing on 180 gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.\r\n
      \r\n
      Dream on, on to the Heart of the Sunrise !
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jon Anderson (Vocals), Steve Howe (electric and acoustic guitar, backing vocals), Chris Squire (bass guitar, backing vocals), Rick Wakeman (Hammond organ, piano, synthesizer), Bill Bruford (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
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App\Twig\Components\GestionPanierFavoriComponents {#3437
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  +produit: App\Entity\Produit {#2115
    -id: 2618
    -nom: "Fragile"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Yes' breakthrough album !\r\n
      - Includes hit singles "Roundabout" and "Long Distance Runaround" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon. Not coincidentally, it also marked the point where all of the elements of the music (and more) that would define the group's success for more than a decade fell into place fully formed, writes AllMusic, giving Fragile a 5-Star rating.\r\n
      \r\n
      Propelled by the timeless hit "Roundabout," Yes' fourth album, Fragile, became an instant classic and is undoubtedly one of prog-rock's finest moments. It was the first Yes record to feature Rick Wakeman on keyboards and the first to display the inimitable artwork of Roger Dean. Here's the ultimate way to enjoy one of Yes's most popular and enjoyable albums.\r\n
      \r\n
      This Analogue Productions (Atlantic Series) reissue of Fragile is a standout for your collection. First, we turned to Kevin Gray at Cohearent Audio to cut lacquers from the original master tape. Pressing on 180 gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.\r\n
      \r\n
      Dream on, on to the Heart of the Sunrise !
      """
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[
  "produit" => App\Entity\Produit {#2131
    -id: 2619
    -nom: "90125"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - 90125 from Yes featuring "Owner Of A Lonely Heart" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from a 1/2" tape copy of the original analog master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      "Prog Rock never sounded that fat, that open, that spacey... the absolute highlight for me, personally, was the drumming. It's absolutely those are explosions it knocks you off your seat. It's killer!" - Michael Ludwigs, 45 RPM Audiophile. YouTube video.\r\n
      \r\n
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      \r\n
      Named for its Atco catalog number, 90125, the album the band's 11th studio effort it was born out of the band's self-reinvention. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots.\r\n
      \r\n
      "Owner Of A Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points.\r\n
      \r\n
      90125 is a significant and well-regarded album in the Yes discography.\r\n
      \r\n
      Analogue Productions is proud to offer the definitive reissue deluxe 180 gram 45 RPM 2 LP of 90125. For Yes fans, this is a can't-miss addition to your album collection.
      """
    -prixVente: "99.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -nom: "90125"
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    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - 90125 from Yes featuring "Owner Of A Lonely Heart" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from a 1/2" tape copy of the original analog master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
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      Named for its Atco catalog number, 90125, the album the band's 11th studio effort it was born out of the band's self-reinvention. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots.\r\n
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      "Owner Of A Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points.\r\n
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      90125 is a significant and well-regarded album in the Yes discography.\r\n
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[
  "produit" => App\Entity\Produit {#2144
    -id: 952
    -nom: "Dance Album of Carl Perkins"
    -informationComplementaire: null
    -description: """
      - Carl Perkins "Dance Album Of Carl Perkins" !\r\n
      - 180 gram 45 RPM Mono Edition !\r\n
      - Part of the Intervention Sun Records Hi-Fi Series !\r\n
      - Cut to vinyl from the original master tapes for the first time in decades !\r\n
      - 100 % analog mastered by Cohearent Audio's Kevin Gray !\r\n
      - Ultra-quiet vinyl pressed at Gotta Groove Records, lacquer plating by RTI !\r\n
      - Stoughton Printing tip-on jacket !\r\n
      - Includes "Match Box", "Blue Suede Shoes", "Gone, Gone, Gone" and more !\r\n
      \r\n
      Seventy years ago, Carl Perkins walked into Sun Records and cut "Blue Suede Shoes," the beginning of a rockabilly legend. Now, for the first time in decades, his Dance Album of Carl Perkins is coming to vinyl. This 180 gram deluxe 45 RPM, all-analog mono edition is cut from the original master tapes, mastered by Kevin Gray at Cohearent Audio, plated at RTI, pressed at Gotta Groove, and wrapped in a beautiful Stoughton Printing tip-on jacket.Intervention Records is proud to announce the first vinyl release in its Intervention Sun Records Hi-Fi Series, Carl Perkins' groundbreaking rockabilly classic, 1957's "Dance Album of Carl Perkins".\r\n
      \r\n
      This December 2025 premium Mono vinyl release commemorates the 70th anniversary of Sun's Sam Phillips recording Carl Perkins' smash "Blue Suede Shoes," which was released as a single on New Year's Day 1956.\r\n
      \r\n
      Dance Album isn't just full of legendary songs that gave birth to rock n' roll itself, many of these tunes are now rock standards that have stood the test of time. These iconic songs have been covered by Elvis Presley, The Beatles (as a band plus George, Paul, and Ringo solo), Johnny Cash, and so many more !\r\n
      \r\n
      As great as many of these versions are from over the decades, arguably no one ever did these tunes with more swag than Carl himself on Dance Album!\r\n
      \r\n
      The SMASH hits include Perkins-written classics such as "Blue Suede Shoes", "Honey Don't", "Matchbox", and "Everybody's Trying to Be My Baby". The album also includes Carl's covers of "Only You" and "Wrong Yo Yo."\r\n
      \r\n
      Intervention worked closely with Sun Records and the Archive Team at Iron Mountain to compile a completely NEW set of A/B reel master tapes for this release. In the late 1960s, when Shelby Singleton purchased Sun Records from legendary Sam Phillips, the original 7" single master tape reels were compiled onto many different sets of 1/4" tapes. Identifying any one tape as "THE master" for a given song is no longer possible, but hours and hours were spent by Sun and IR's Shane Buettner listening to tapes and identifying the absolute best sounding tape version of each and every song. Kelly Pribble, Mark Berger, and Scott Delaney at Iron Mountain made flat 1/4" transfers at our direction to a newly minted set of 1/4" A/B reels for this release.\r\n
      \r\n
      According to our collective research, Dance Album hasn't been cut to vinyl from analog tape at least since the early 1980s, but perhaps not since the 1960s ! No compiled A/B reels exist in the Sun archives, so our belief is that the many reels we listened to are indeed THE original master tapes ...\r\n
      \r\n
      Due to being mono and packed with quick-paced songs, CoHEARent Audio's Kevin Gray was able to cut the entire program on a 12" 180 gram LP at 45 RPM for maximum sound quality making this a truly unique and utterly hi-fi experience for music lovers everywhere of every age.\r\n
      \r\n
      The sound quality of these newly minted master tapes will stun anyone who thinks they know this iconic album. On IR's release, you hear everything put on tape by Sam Phillips at legendary Sun Studios for the first time. The vocals and instruments have a majesty and clarity that's unrivaled on any previous release, testament to Sam's extraordinary talents as a recording engineer.\r\n
      \r\n
      This 180 gram 45 RPM release is pressed on ultra-quiet vinyl by boutique press Gotta Groove Records. RTI did the plating in a full 3-Step process to ensure the highest possible sound quality.\r\n
      \r\n
      Of course IR's paid no less attention to the album art, and very special thanks are owed to Joe Goldmark, who loaned us his very-hard-to-find original jacket for color reference. The album art is of course restored by IR Art Director Tom Vadakan and authentically realized by the wizards at Stoughton Printing as a gorgeous Old-Style "Tip-On" jacket with authentic "brown-in" blanks.\r\n
      \r\n
      In a first for IR, this release features liner notes written by Sun Records historian Colin Escott, who consulted on this release and was extremely generous with his time and knowledge throughout. Thank you Colin !
      """
    -prixVente: "48.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: null
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -limitedEdition: true
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      ]
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      ]
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      ]
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        "nom" => "6 Boppin’ The Blues"
      ]
    ]
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  +produit: App\Entity\Produit {#2144
    -id: 952
    -nom: "Dance Album of Carl Perkins"
    -informationComplementaire: null
    -description: """
      - Carl Perkins "Dance Album Of Carl Perkins" !\r\n
      - 180 gram 45 RPM Mono Edition !\r\n
      - Part of the Intervention Sun Records Hi-Fi Series !\r\n
      - Cut to vinyl from the original master tapes for the first time in decades !\r\n
      - 100 % analog mastered by Cohearent Audio's Kevin Gray !\r\n
      - Ultra-quiet vinyl pressed at Gotta Groove Records, lacquer plating by RTI !\r\n
      - Stoughton Printing tip-on jacket !\r\n
      - Includes "Match Box", "Blue Suede Shoes", "Gone, Gone, Gone" and more !\r\n
      \r\n
      Seventy years ago, Carl Perkins walked into Sun Records and cut "Blue Suede Shoes," the beginning of a rockabilly legend. Now, for the first time in decades, his Dance Album of Carl Perkins is coming to vinyl. This 180 gram deluxe 45 RPM, all-analog mono edition is cut from the original master tapes, mastered by Kevin Gray at Cohearent Audio, plated at RTI, pressed at Gotta Groove, and wrapped in a beautiful Stoughton Printing tip-on jacket.Intervention Records is proud to announce the first vinyl release in its Intervention Sun Records Hi-Fi Series, Carl Perkins' groundbreaking rockabilly classic, 1957's "Dance Album of Carl Perkins".\r\n
      \r\n
      This December 2025 premium Mono vinyl release commemorates the 70th anniversary of Sun's Sam Phillips recording Carl Perkins' smash "Blue Suede Shoes," which was released as a single on New Year's Day 1956.\r\n
      \r\n
      Dance Album isn't just full of legendary songs that gave birth to rock n' roll itself, many of these tunes are now rock standards that have stood the test of time. These iconic songs have been covered by Elvis Presley, The Beatles (as a band plus George, Paul, and Ringo solo), Johnny Cash, and so many more !\r\n
      \r\n
      As great as many of these versions are from over the decades, arguably no one ever did these tunes with more swag than Carl himself on Dance Album!\r\n
      \r\n
      The SMASH hits include Perkins-written classics such as "Blue Suede Shoes", "Honey Don't", "Matchbox", and "Everybody's Trying to Be My Baby". The album also includes Carl's covers of "Only You" and "Wrong Yo Yo."\r\n
      \r\n
      Intervention worked closely with Sun Records and the Archive Team at Iron Mountain to compile a completely NEW set of A/B reel master tapes for this release. In the late 1960s, when Shelby Singleton purchased Sun Records from legendary Sam Phillips, the original 7" single master tape reels were compiled onto many different sets of 1/4" tapes. Identifying any one tape as "THE master" for a given song is no longer possible, but hours and hours were spent by Sun and IR's Shane Buettner listening to tapes and identifying the absolute best sounding tape version of each and every song. Kelly Pribble, Mark Berger, and Scott Delaney at Iron Mountain made flat 1/4" transfers at our direction to a newly minted set of 1/4" A/B reels for this release.\r\n
      \r\n
      According to our collective research, Dance Album hasn't been cut to vinyl from analog tape at least since the early 1980s, but perhaps not since the 1960s ! No compiled A/B reels exist in the Sun archives, so our belief is that the many reels we listened to are indeed THE original master tapes ...\r\n
      \r\n
      Due to being mono and packed with quick-paced songs, CoHEARent Audio's Kevin Gray was able to cut the entire program on a 12" 180 gram LP at 45 RPM for maximum sound quality making this a truly unique and utterly hi-fi experience for music lovers everywhere of every age.\r\n
      \r\n
      The sound quality of these newly minted master tapes will stun anyone who thinks they know this iconic album. On IR's release, you hear everything put on tape by Sam Phillips at legendary Sun Studios for the first time. The vocals and instruments have a majesty and clarity that's unrivaled on any previous release, testament to Sam's extraordinary talents as a recording engineer.\r\n
      \r\n
      This 180 gram 45 RPM release is pressed on ultra-quiet vinyl by boutique press Gotta Groove Records. RTI did the plating in a full 3-Step process to ensure the highest possible sound quality.\r\n
      \r\n
      Of course IR's paid no less attention to the album art, and very special thanks are owed to Joe Goldmark, who loaned us his very-hard-to-find original jacket for color reference. The album art is of course restored by IR Art Director Tom Vadakan and authentically realized by the wizards at Stoughton Printing as a gorgeous Old-Style "Tip-On" jacket with authentic "brown-in" blanks.\r\n
      \r\n
      In a first for IR, this release features liner notes written by Sun Records historian Colin Escott, who consulted on this release and was extremely generous with his time and knowledge throughout. Thank you Colin !
      """
    -prixVente: "48.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: null
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -referenceProduit: "Intervention Records 8278"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A : "
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        "ordre" => 1
        "nom" => "1. Blue Suede Shoes"
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        "nom" => "1. Tennessee"
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      ]
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        "nom" => "3. Everybody’s Trying To Be My Baby"
      ]
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        "nom" => "4. Matchbox"
      ]
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[
  "produit" => App\Entity\Produit {#2165
    -id: 477
    -nom: "Amos Lee -  Special Edition Clarity Vinyl QUIEX SV-P II 200 Gram Clarity Vinyl"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: """
      AMOS LEE "Amos Lee" - 200 G LP Quiex SVP CLARITY VINYL Classic Records Reissue. \r\n
      \r\n
      Amos Lee is one of those special singer songwriters that comes along very infrequently. On this, his first release he sings songs from the heart that we can all relate to and does so with a voice that we all wish we had. Amos opened for Norah Jones on her 2004 European tour and this record is produce by Norah Jones band member Lee Alexander. Mastered and cut from the original 1/2" analog masters by Bernie Grundman on Classic's "all tube" stereo cutting system and pressed on Classic's 200 G Super Vinyl Profile. Amos is definitely in the house and in the room !\r\n
      \r\n
      This record was pressed to Clarity Vinyl right before Classic Records was sold and was NEVER RELEASED to the public, making it super rare !\r\n
      \r\n
      Background on Clarity Vinyl Pressings.\r\n
       \r\n
      In 2008, Classic discovered that demagnetizing black vinyl records leads to better sound in playback.  The engineers at Furutech in Japan, makers of a commercial record demag machine, explained that the carbon black that was added to PVC record pellets contained trace metal that became randomly magnetized and while spinning below an electro-mechanical transducer (phono cartridge) caused electrical distortion inside a cartridge during LP playback.  Hence, demagnetizing a black vinyl record dramatically reduces the electrical distortion and leads to more "Clarity" in playback.  Michael Hobson, founder of Classic Records reasoned that if the carbon black were removed then the result should be more Clarity in playback.  Working closely with the PVC manufacturer Kenan, Classic developed its own proprietary "Clarity Vinyl" devoid of the problems with trace magnetic particles contained in black vinyl formulas.  Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% percentage of the highest quality co-polymer available - a key component in vinyl pellets used for manufacturing vinyl records.  Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP’s.  Carbon Black contains trace metals that become magnetized and cause “electrical distortions” in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the “electrical distortions” and thus bring more “Clarity” to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.A Clarity vinyl pressing on a flat profile die is the absolute ultimate pressing possible and even a step above the JVC UHQR black vinyl pressings.  Not to be missed - you can hear the difference !\r\n
      \r\n
      Background on Classic 200 G Super Vinyl Profile.\r\n
       \r\n
      In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series. As part of that series Classic developed an "authentic" 200 gram LP profile that replicated that of an original Blue Note record from the 1950's.  Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better.  The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify.  At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings.  One day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated "Ah Michael you've discovered the difference in a flat versus conventional profile".  Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950's mono pressings and what happened when stereo records came out in the early 1960's.  Sax explained that in the 1950's when mono records had no vertical modulation (only lateral), pressing PolyVinylChloride PVC (plastic) records were more easily pressed on "Flat Profile" dies fitted to the pressing machines since the grooves on the mono stampers were all the same height (no vertical modulation).  The molten vinyl was able to flow evenly across the stampers and fill properly during the molding (pressing) of the record.  The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper.  Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in "non-fill" which was audible and thus a "defective" record.  Pressing plants don't like to press defective records and are always looking for high pressing yields or a s few rejects as possible.\r\n
      \r\n
      To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was "concave" rather than flat.  When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing.  This new die profile created "back pressure" on the flowing vinyl and solved the "non-fill" problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings.  The problem was and still is that the new profile records don't sound as good as they could because they are not flat across their profile.  Using a micrometer across the diameter of a 1950's mono records reveals that the thickness is virtually the same across the record's diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies / distorted stampers.  This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970's.  After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic.  Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now.  The long and the short of this is that Classic 200g Super Vinyl Profile (Flat Profile) pressings are as good as it gets for proper playback without groove distortion from non-flat pressings - Period.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Amos Lee (guitar, vocals), Lee Alexander (pulp drum, bass), Fred Berman (drums, background vocals), Kevin Breit (acoustic guitar, mandolin) Adam Levy (electric guitar, background vocals), Norah Jones (piano, background vocals),  Devin Greenwood (Organ)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=PstRDzZjnLk"
    -referenceProduit: "Classic Records BN 7243 Clarity Vinyl"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Keep It Loose, Keep It Tight"
      ]
      [
        "ordre" => 2
        "nom" => "2. Seen It All Before"
      ]
      [
        "ordre" => 3
        "nom" => "3. Arms Of A Woman"
      ]
      [
        "ordre" => 4
        "nom" => "4. Give It Up"
      ]
      [
        "ordre" => 5
        "nom" => "5. Dreamin'"
      ]
      [
        "ordre" => 6
        "nom" => "Side B :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Soul Suckers"
      ]
      [
        "ordre" => 8
        "nom" => "2. Colors"
      ]
      [
        "ordre" => 9
        "nom" => "3. Bottom Of The Barrel"
      ]
      [
        "ordre" => 10
        "nom" => "4. Black River"
      ]
      [
        "ordre" => 11
        "nom" => "5. Love In The Lies"
      ]
      [
        "ordre" => 12
        "nom" => "6. All My Friends"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2167 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2174 …}
    -enregistreLe: DateTime @1321005654 {#2161
      date: 2011-11-11 10:00:54.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766745078 {#2160
      date: 2025-12-26 10:31:18.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-amos-lee-special-edition-clarity-vinyl-quiex-sv-p-ii-200-gram-clarity-vinyl-classic-records-bn-7243-clarity-vinyl"
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App\Twig\Components\GestionPanierFavoriComponents {#3587
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2165
    -id: 477
    -nom: "Amos Lee -  Special Edition Clarity Vinyl QUIEX SV-P II 200 Gram Clarity Vinyl"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: """
      AMOS LEE "Amos Lee" - 200 G LP Quiex SVP CLARITY VINYL Classic Records Reissue. \r\n
      \r\n
      Amos Lee is one of those special singer songwriters that comes along very infrequently. On this, his first release he sings songs from the heart that we can all relate to and does so with a voice that we all wish we had. Amos opened for Norah Jones on her 2004 European tour and this record is produce by Norah Jones band member Lee Alexander. Mastered and cut from the original 1/2" analog masters by Bernie Grundman on Classic's "all tube" stereo cutting system and pressed on Classic's 200 G Super Vinyl Profile. Amos is definitely in the house and in the room !\r\n
      \r\n
      This record was pressed to Clarity Vinyl right before Classic Records was sold and was NEVER RELEASED to the public, making it super rare !\r\n
      \r\n
      Background on Clarity Vinyl Pressings.\r\n
       \r\n
      In 2008, Classic discovered that demagnetizing black vinyl records leads to better sound in playback.  The engineers at Furutech in Japan, makers of a commercial record demag machine, explained that the carbon black that was added to PVC record pellets contained trace metal that became randomly magnetized and while spinning below an electro-mechanical transducer (phono cartridge) caused electrical distortion inside a cartridge during LP playback.  Hence, demagnetizing a black vinyl record dramatically reduces the electrical distortion and leads to more "Clarity" in playback.  Michael Hobson, founder of Classic Records reasoned that if the carbon black were removed then the result should be more Clarity in playback.  Working closely with the PVC manufacturer Kenan, Classic developed its own proprietary "Clarity Vinyl" devoid of the problems with trace magnetic particles contained in black vinyl formulas.  Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% percentage of the highest quality co-polymer available - a key component in vinyl pellets used for manufacturing vinyl records.  Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP’s.  Carbon Black contains trace metals that become magnetized and cause “electrical distortions” in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the “electrical distortions” and thus bring more “Clarity” to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.A Clarity vinyl pressing on a flat profile die is the absolute ultimate pressing possible and even a step above the JVC UHQR black vinyl pressings.  Not to be missed - you can hear the difference !\r\n
      \r\n
      Background on Classic 200 G Super Vinyl Profile.\r\n
       \r\n
      In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series. As part of that series Classic developed an "authentic" 200 gram LP profile that replicated that of an original Blue Note record from the 1950's.  Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better.  The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify.  At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings.  One day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated "Ah Michael you've discovered the difference in a flat versus conventional profile".  Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950's mono pressings and what happened when stereo records came out in the early 1960's.  Sax explained that in the 1950's when mono records had no vertical modulation (only lateral), pressing PolyVinylChloride PVC (plastic) records were more easily pressed on "Flat Profile" dies fitted to the pressing machines since the grooves on the mono stampers were all the same height (no vertical modulation).  The molten vinyl was able to flow evenly across the stampers and fill properly during the molding (pressing) of the record.  The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper.  Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in "non-fill" which was audible and thus a "defective" record.  Pressing plants don't like to press defective records and are always looking for high pressing yields or a s few rejects as possible.\r\n
      \r\n
      To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was "concave" rather than flat.  When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing.  This new die profile created "back pressure" on the flowing vinyl and solved the "non-fill" problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings.  The problem was and still is that the new profile records don't sound as good as they could because they are not flat across their profile.  Using a micrometer across the diameter of a 1950's mono records reveals that the thickness is virtually the same across the record's diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies / distorted stampers.  This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970's.  After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic.  Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now.  The long and the short of this is that Classic 200g Super Vinyl Profile (Flat Profile) pressings are as good as it gets for proper playback without groove distortion from non-flat pressings - Period.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Amos Lee (guitar, vocals), Lee Alexander (pulp drum, bass), Fred Berman (drums, background vocals), Kevin Breit (acoustic guitar, mandolin) Adam Levy (electric guitar, background vocals), Norah Jones (piano, background vocals),  Devin Greenwood (Organ)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=PstRDzZjnLk"
    -referenceProduit: "Classic Records BN 7243 Clarity Vinyl"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Keep It Loose, Keep It Tight"
      ]
      [
        "ordre" => 2
        "nom" => "2. Seen It All Before"
      ]
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        "ordre" => 3
        "nom" => "3. Arms Of A Woman"
      ]
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        "ordre" => 4
        "nom" => "4. Give It Up"
      ]
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        "ordre" => 5
        "nom" => "5. Dreamin'"
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        "nom" => "Side B :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Soul Suckers"
      ]
      [
        "ordre" => 8
        "nom" => "2. Colors"
      ]
      [
        "ordre" => 9
        "nom" => "3. Bottom Of The Barrel"
      ]
      [
        "ordre" => 10
        "nom" => "4. Black River"
      ]
      [
        "ordre" => 11
        "nom" => "5. Love In The Lies"
      ]
      [
        "ordre" => 12
        "nom" => "6. All My Friends"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2167 …}
    -label: Proxies\__CG__\App\Entity\Label {#2170 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2179 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2172 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2174 …}
    -enregistreLe: DateTime @1321005654 {#2161
      date: 2011-11-11 10:00:54.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766745078 {#2160
      date: 2025-12-26 10:31:18.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2176 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-amos-lee-special-edition-clarity-vinyl-quiex-sv-p-ii-200-gram-clarity-vinyl-classic-records-bn-7243-clarity-vinyl"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
}

[
  "produit" => App\Entity\Produit {#2186
    -id: 288
    -nom: "Radio City - Special Edition Clarity Vinyl QUIEX SV-P II"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl QUIEX SV-P II"
    -description: """
      Radio City (1974), Big Star’s sophomore effort does feature a few uncredited contributions by Chris Bell but for the most part, this is Chilton’s baby.\r\n
      Critically acclaimed almost unanimously upon release, it is now considered the band’s masterpiece.\r\n
      \r\n
      The stop and start recording history, including the actual break-up and the reuniting of its members, only makes it more incredible.\r\n
      Two of the most memorable songs Back Of A Car and especially September Gurls feature infectious hooks that have allowed them to be covered in tribute, since.\r\n
      \r\n
      Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood California directly from the original analog master tapes and pressed on Classic Records proprietary, 200 gram Clarity Super Vinyl Profile II for maximum fidelity in playback !
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Alex Chilton (guitar, vocals), Andy Hummel (bass guitar, piano, vocals), Jody Stephens (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Pbnekl_rE-8&list=PL59D13E22E7BDF83A"
    -referenceProduit: "Classic Records ADS 1501 Clarity Vinyl"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. O My Soul - Mono Only"
      ]
      [
        "ordre" => 2
        "nom" => "2. Life is White"
      ]
      [
        "ordre" => 3
        "nom" => "3. Way Out West"
      ]
      [
        "ordre" => 4
        "nom" => "4. What's Going Ahn"
      ]
      [
        "ordre" => 5
        "nom" => "5. You Get What You Want"
      ]
      [
        "ordre" => 6
        "nom" => "6. Mod Lang"
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Back of Car"
      ]
      [
        "ordre" => 9
        "nom" => "2. Daisy Glaze"
      ]
      [
        "ordre" => 10
        "nom" => "3. She's a Mover"
      ]
      [
        "ordre" => 11
        "nom" => "4. September Gurls"
      ]
      [
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        "nom" => "5. Morpha Too"
      ]
      [
        "ordre" => 13
        "nom" => "6. I'm in Love with a Girl"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2188 …}
    -label: Proxies\__CG__\App\Entity\Label {#2170 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …}
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    }
    -modifierLe: DateTime @1766744754 {#2181
      date: 2025-12-26 10:25:54.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-radio-city-special-edition-clarity-vinyl-quiex-sv-p-ii-classic-records-ads-1501-clarity-vinyl"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3638
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2186
    -id: 288
    -nom: "Radio City - Special Edition Clarity Vinyl QUIEX SV-P II"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl QUIEX SV-P II"
    -description: """
      Radio City (1974), Big Star’s sophomore effort does feature a few uncredited contributions by Chris Bell but for the most part, this is Chilton’s baby.\r\n
      Critically acclaimed almost unanimously upon release, it is now considered the band’s masterpiece.\r\n
      \r\n
      The stop and start recording history, including the actual break-up and the reuniting of its members, only makes it more incredible.\r\n
      Two of the most memorable songs Back Of A Car and especially September Gurls feature infectious hooks that have allowed them to be covered in tribute, since.\r\n
      \r\n
      Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood California directly from the original analog master tapes and pressed on Classic Records proprietary, 200 gram Clarity Super Vinyl Profile II for maximum fidelity in playback !
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Alex Chilton (guitar, vocals), Andy Hummel (bass guitar, piano, vocals), Jody Stephens (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Pbnekl_rE-8&list=PL59D13E22E7BDF83A"
    -referenceProduit: "Classic Records ADS 1501 Clarity Vinyl"
    -titreMorceau: [
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        "nom" => "1. O My Soul - Mono Only"
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      [
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        "nom" => "2. Life is White"
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        "nom" => "3. Way Out West"
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        "nom" => "4. What's Going Ahn"
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        "nom" => "5. You Get What You Want"
      ]
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        "nom" => "6. Mod Lang"
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        "nom" => "1. Back of Car"
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      [
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      ]
      [
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        "nom" => "3. She's a Mover"
      ]
      [
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      ]
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        "nom" => "5. Morpha Too"
      ]
      [
        "ordre" => 13
        "nom" => "6. I'm in Love with a Girl"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2188 …}
    -label: Proxies\__CG__\App\Entity\Label {#2170 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2192 …}
    -enregistreLe: DateTime @1278690668 {#2182
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    }
    -modifierLe: DateTime @1766744754 {#2181
      date: 2025-12-26 10:25:54.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-radio-city-special-edition-clarity-vinyl-quiex-sv-p-ii-classic-records-ads-1501-clarity-vinyl"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
}

[
  "produit" => App\Entity\Produit {#2208
    -id: 2108
    -nom: "Eldorado - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: null
    -description: """
      - Numbered, Limited Edition 45 RPM 180 gram Vinyl (2 LP) Box Set !\r\n
      - Limited to 10000 Numbered Copies !\r\n
      - MoFi SuperVinyl Pressed At RTI !\r\n
      \r\n
      A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra's Eldorado Marries Rock and Symphonic Elements, Includes the Aptly Titled Hit "Can't Get It Out of My Head".\r\n
      \r\n
      1974 Prog-Rock Landmark Mastered from the 1/4" / 15 IPS / Dolby A Analog Master to DSD 256 to Analog Console to Lathe: Reference-Grade Mobile Fidelity UD1S 180 gram 45 RPM Vinyl (2 LP) Box Set Plays with Breathtaking Dynamics, Tones, and Colors.\r\n
      \r\n
      Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section : Arrangements and Lyrics Transport the Listener to Faraway Horizons.\r\n
      \r\n
      Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.\r\n
      \r\n
      Mastered from the 1/4" / 15 IPS / Dolby A analog master to DSD 256, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set of Eldorado allows the longtime audiophile staple to resonate with reference-setting dynamics, tones, and colors. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.\r\n
      \r\n
      Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale soundstaging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process - as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.\r\n
      \r\n
      The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic artwork to the meticulous finishes.\r\n
      \r\n
      An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.\r\n
      \r\n
      Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool".\r\n
      \r\n
      Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue", power-pop packed "Illusions In G Major" and, of course, the aptly titled hit, "Can't Get It Out Of My Head".\r\n
      \r\n
      Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.\r\n
      \r\n
      MoFi SuperVinyl \r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers also called "converts" are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jeff Lynne (guitar, synthesizer, vocals), Richard Tandy (piano, synthesizer, guitar, backing vocals), Michael de Albuquerque (bass), Hugh McDowell, Michael Edwards (cello), Mik Kaminski (violin), Bev Bevan (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=boeZOAX_dwY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-015"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Eldorado Overture"
      ]
      [
        "ordre" => 1
        "nom" => "2. Can't Get It Out of My Head"
      ]
      [
        "ordre" => 2
        "nom" => "3. Boy Blue"
      ]
      [
        "ordre" => 3
        "nom" => "4. Laredo Tornado"
      ]
      [
        "ordre" => 4
        "nom" => "5. Poor Boy (The Greenwood)"
      ]
      [
        "ordre" => 5
        "nom" => "6. Mister Kingdom"
      ]
      [
        "ordre" => 6
        "nom" => "7. Nobody's Child"
      ]
      [
        "ordre" => 7
        "nom" => "8. Illusions in G Major"
      ]
      [
        "ordre" => 8
        "nom" => "9. Eldorado"
      ]
      [
        "ordre" => 9
        "nom" => "10. Eldorado Finale"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2210 …}
    -label: Proxies\__CG__\App\Entity\Label {#2049 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2219 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2212 …}
    -typeMasterTape: null
    -marque: null
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    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2214 …}
    -enregistreLe: DateTime @1629442052 {#2200
      date: 2021-08-20 06:47:32.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765713680 {#2199
      date: 2025-12-14 12:01:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2216 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eldorado-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-ud1s-015"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3689
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2208
    -id: 2108
    -nom: "Eldorado - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: null
    -description: """
      - Numbered, Limited Edition 45 RPM 180 gram Vinyl (2 LP) Box Set !\r\n
      - Limited to 10000 Numbered Copies !\r\n
      - MoFi SuperVinyl Pressed At RTI !\r\n
      \r\n
      A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra's Eldorado Marries Rock and Symphonic Elements, Includes the Aptly Titled Hit "Can't Get It Out of My Head".\r\n
      \r\n
      1974 Prog-Rock Landmark Mastered from the 1/4" / 15 IPS / Dolby A Analog Master to DSD 256 to Analog Console to Lathe: Reference-Grade Mobile Fidelity UD1S 180 gram 45 RPM Vinyl (2 LP) Box Set Plays with Breathtaking Dynamics, Tones, and Colors.\r\n
      \r\n
      Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section : Arrangements and Lyrics Transport the Listener to Faraway Horizons.\r\n
      \r\n
      Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.\r\n
      \r\n
      Mastered from the 1/4" / 15 IPS / Dolby A analog master to DSD 256, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set of Eldorado allows the longtime audiophile staple to resonate with reference-setting dynamics, tones, and colors. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.\r\n
      \r\n
      Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale soundstaging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process - as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.\r\n
      \r\n
      The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic artwork to the meticulous finishes.\r\n
      \r\n
      An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.\r\n
      \r\n
      Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool".\r\n
      \r\n
      Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue", power-pop packed "Illusions In G Major" and, of course, the aptly titled hit, "Can't Get It Out Of My Head".\r\n
      \r\n
      Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.\r\n
      \r\n
      MoFi SuperVinyl \r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers also called "converts" are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jeff Lynne (guitar, synthesizer, vocals), Richard Tandy (piano, synthesizer, guitar, backing vocals), Michael de Albuquerque (bass), Hugh McDowell, Michael Edwards (cello), Mik Kaminski (violin), Bev Bevan (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=boeZOAX_dwY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-015"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Eldorado Overture"
      ]
      [
        "ordre" => 1
        "nom" => "2. Can't Get It Out of My Head"
      ]
      [
        "ordre" => 2
        "nom" => "3. Boy Blue"
      ]
      [
        "ordre" => 3
        "nom" => "4. Laredo Tornado"
      ]
      [
        "ordre" => 4
        "nom" => "5. Poor Boy (The Greenwood)"
      ]
      [
        "ordre" => 5
        "nom" => "6. Mister Kingdom"
      ]
      [
        "ordre" => 6
        "nom" => "7. Nobody's Child"
      ]
      [
        "ordre" => 7
        "nom" => "8. Illusions in G Major"
      ]
      [
        "ordre" => 8
        "nom" => "9. Eldorado"
      ]
      [
        "ordre" => 9
        "nom" => "10. Eldorado Finale"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2210 …}
    -label: Proxies\__CG__\App\Entity\Label {#2049 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2219 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2212 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2214 …}
    -enregistreLe: DateTime @1629442052 {#2200
      date: 2021-08-20 06:47:32.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765713680 {#2199
      date: 2025-12-14 12:01:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2216 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eldorado-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-ud1s-015"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
}

[
  "produit" => App\Entity\Produit {#2226
    -id: 874
    -nom: "Eddie Money"
    -informationComplementaire: null
    -description: """
      - Eddie Money "Eddie Money"200 gram gatefold LP !\r\n
      - Featuring "Baby Hold On" and "Two Tickets To Paradise" !\r\n
      - Remastered by Ryan Smith at Sterling Sound !\r\n
      - Stoughton Printing old-style tip on jacket !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      Edward Joseph Mahoney, a Brooklyn-born second-generation cop who eventually ditched his badge and gun to pursue his rock star dreams as Eddie Money - struck gold right off the bat with his 1977 self-titled debut album.\r\n
      \r\n
      The record's leadoff single, "Baby Hold On", was actually its biggest hit, but the follow-up single "Two Tickets to Paradise", was a sort of spiritual cousin to Bruce Springsteen‘s "Rosalita (Come Out Tonight)". It's written from the perspective of a young guy who's desperately trying to convince his girlfriend to ignore her disapproving parents and come away with him "on a trip so far away from here". With its smooth production, urgent uptempo chorus, and insistent melodic hook, "Tickets" was a natural for late '70s FM radio - where it found an immediate home, eventually working its way all the way up to \r\n
      N° 22 on the Billboard Hot 100.\r\n
      \r\n
      Although Money might have written "Two Tickets to Paradise" to convince a specific girl to leave town with him, its title became shorthand for that end-of-the-work-week feeling you get when you've fulfilled all of your responsibilities to the Man and you're free to relax without obligations for a little while - like, say, at at an Eddie Money concert, where "Tickets" has remained a constant fixture of the set list for more than 30 years.\r\n
      \r\n
      We've done this Analogue Productions issue up right with top-of-the-line remastering from Ryan Smith at Sterling Sound - for phenomenal sonic quality - and a richly detailed, silent-background Quality Record Pressings 180 gram LP. None better.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Eddie Money (Keyboards, saxophone, vocals), Tom Scott (saxophone), Lonnie Turner, Bob ‘’Pops’’ Popwell (bass), Jimmy Lyon (guitar), Alan Pasqua, Freddy Webb, Randy Nichols (keyboards), Gary Mallaber, Gene Pardue, Kevin Calhoun (drums, percussion)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=JxcUmAVG3RQ&start_radio=1"
    -referenceProduit: "Analogue Productions AAPP 089"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Two Tickets To Paradise"
      ]
      [
        "ordre" => 2
        "nom" => "2. You’ve Really Got A Hold On Me"
      ]
      [
        "ordre" => 3
        "nom" => "3. Wanna Be A Rock ‘n’ Roll Star"
      ]
      [
        "ordre" => 4
        "nom" => "4. Save A Little Room In Your Heart For Me"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Good To Be In Love Again"
      ]
      [
        "ordre" => 6
        "nom" => "Side B :"
      ]
      [
        "ordre" => 7
        "nom" => "6. Baby Hold On"
      ]
      [
        "ordre" => 8
        "nom" => "7. Don’t Worry"
      ]
      [
        "ordre" => 9
        "nom" => "8. Jealousys"
      ]
      [
        "ordre" => 10
        "nom" => "9. Got To Get Another Girl"
      ]
      [
        "ordre" => 11
        "nom" => "10. Gamblin Man"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2228 …}
    -label: Proxies\__CG__\App\Entity\Label {#2097 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2237 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2230 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2232 …}
    -enregistreLe: DateTime @1455612728 {#2222
      date: 2016-02-16 08:52:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765710243 {#2221
      date: 2025-12-14 11:04:03.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2234 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eddie-money-analogue-productions-aapp-089"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3740
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2660 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2226
    -id: 874
    -nom: "Eddie Money"
    -informationComplementaire: null
    -description: """
      - Eddie Money "Eddie Money"200 gram gatefold LP !\r\n
      - Featuring "Baby Hold On" and "Two Tickets To Paradise" !\r\n
      - Remastered by Ryan Smith at Sterling Sound !\r\n
      - Stoughton Printing old-style tip on jacket !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      Edward Joseph Mahoney, a Brooklyn-born second-generation cop who eventually ditched his badge and gun to pursue his rock star dreams as Eddie Money - struck gold right off the bat with his 1977 self-titled debut album.\r\n
      \r\n
      The record's leadoff single, "Baby Hold On", was actually its biggest hit, but the follow-up single "Two Tickets to Paradise", was a sort of spiritual cousin to Bruce Springsteen‘s "Rosalita (Come Out Tonight)". It's written from the perspective of a young guy who's desperately trying to convince his girlfriend to ignore her disapproving parents and come away with him "on a trip so far away from here". With its smooth production, urgent uptempo chorus, and insistent melodic hook, "Tickets" was a natural for late '70s FM radio - where it found an immediate home, eventually working its way all the way up to \r\n
      N° 22 on the Billboard Hot 100.\r\n
      \r\n
      Although Money might have written "Two Tickets to Paradise" to convince a specific girl to leave town with him, its title became shorthand for that end-of-the-work-week feeling you get when you've fulfilled all of your responsibilities to the Man and you're free to relax without obligations for a little while - like, say, at at an Eddie Money concert, where "Tickets" has remained a constant fixture of the set list for more than 30 years.\r\n
      \r\n
      We've done this Analogue Productions issue up right with top-of-the-line remastering from Ryan Smith at Sterling Sound - for phenomenal sonic quality - and a richly detailed, silent-background Quality Record Pressings 180 gram LP. None better.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Eddie Money (Keyboards, saxophone, vocals), Tom Scott (saxophone), Lonnie Turner, Bob ‘’Pops’’ Popwell (bass), Jimmy Lyon (guitar), Alan Pasqua, Freddy Webb, Randy Nichols (keyboards), Gary Mallaber, Gene Pardue, Kevin Calhoun (drums, percussion)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=JxcUmAVG3RQ&start_radio=1"
    -referenceProduit: "Analogue Productions AAPP 089"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Two Tickets To Paradise"
      ]
      [
        "ordre" => 2
        "nom" => "2. You’ve Really Got A Hold On Me"
      ]
      [
        "ordre" => 3
        "nom" => "3. Wanna Be A Rock ‘n’ Roll Star"
      ]
      [
        "ordre" => 4
        "nom" => "4. Save A Little Room In Your Heart For Me"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Good To Be In Love Again"
      ]
      [
        "ordre" => 6
        "nom" => "Side B :"
      ]
      [
        "ordre" => 7
        "nom" => "6. Baby Hold On"
      ]
      [
        "ordre" => 8
        "nom" => "7. Don’t Worry"
      ]
      [
        "ordre" => 9
        "nom" => "8. Jealousys"
      ]
      [
        "ordre" => 10
        "nom" => "9. Got To Get Another Girl"
      ]
      [
        "ordre" => 11
        "nom" => "10. Gamblin Man"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2228 …}
    -label: Proxies\__CG__\App\Entity\Label {#2097 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2237 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2230 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2232 …}
    -enregistreLe: DateTime @1455612728 {#2222
      date: 2016-02-16 08:52:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765710243 {#2221
      date: 2025-12-14 11:04:03.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2234 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eddie-money-analogue-productions-aapp-089"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3942
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2428 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3943 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3991 …}
  +isValidated: false
  +validatedFields: []
}